Wow! Such a good movie.

Very very predictable, including the post credit scene !!!

Boring

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

In the 1970s, just about nobody understood the drive-in audience like movie producer Roger Corman. So it should come as no surprise that several times in the 1970s, major Hollywood movie studios hired Corman to make drive-in movies for them. "Moving Violation" was one of those movies, but despite the resources of a major studio at hand, it isn't very successful for the most part. The movie does look slicker and more expensive than Corman's independent movies of the time, but not by much. There's almost no effort in writing a story or characters with depth - we don't even learn the name of one of the lovers before the two of them go on the run! As a result, the actors for the most part aren't able to do much with their characters, though Eddie Albert does shine in his somewhat brief role. As for action sequences, it's mostly car chases done in standard mode, so they lack excitement. If you're desperate, this may help 91 or so minutes to pass by, but even then you might wonder if this is a good way to use your time.

My aunt used to paint these oils of things like Maine lighthouses. The canvas boards came with the outlines of all the objects already on it. Each space was filled with a number. If a given space on the canvas, say the sky, was labeled "9", she'd fill in the space with a color from the little tube labeled "9. Blue." She was very precise. No golden, end-of-summer wheat field ever shimmered indistinctly against the hazy horizon. The Number 6 paint ended sharply and the Number 7 paint began.Aunt Olga could have directed this movie. There may not be a single convention or cliché neglected. McHattie and Lenz are falsely accused by Lonnie Chapman, as Sheriff Rankin, of murdering a deputy in a small California town. The town and its boss, Will Geer, make a federal case out of it, as if the two fugitives were mass murderers. They even draw in a "gang of terrorists" and "commies".The movie is almost entirely one long car chase. Bullets fly. Lenz grits her teeth behind the wheel. McHattie, in the shotgun seat, purses his lips and looks bemused, as well he might. Eddie Albert is in here but doesn't appear until the movie is half over -- and don't blink.Every car chase is undercranked, meaning the cars are filmed in accelerated motion. They zip around curves, plow through stop signs, have their tops surgically removed by the eighteen-wheelers under which they slide. This convention dates back to the Keystone Cops but was almost uniformly observed in car chases. The first time I realized that a car could roll off the road at an ordinary speed was when the Volkswagon tips over in "Wild Strawberries." But when there is a motor accident of any kind, the film toggles into slow motion so the viewer can enjoy the spectacle of a cop car tumbling into a ditch, snapping off the open door of a parked vehicle, or smashing into a brick wall.I don't see much reason to get into the plot or many of its elements, such as the rollicking smith-kicker banjo and fiddle tune that goes with the action. If it's not Number 9 Blue, it's Number 2 Earth Brown. You've seen all the hues before.Stephen McHattie is an actor of slight talent. Kay Lenz, ditto, but Lenz has something going for her -- an odd beauty, a big grin set in a wide jaw that inspires admiration and a little trepidation. (Those teeth.) She has a fine figure too, sassy where it ought to be, and it reassures me that I'm not a woman trapped in a man's body, only a perfectly normal human being. Huck. Huck. Excuse me. HACK. Whew! That was a fur ball from hell.Don't miss it if you can.

This is a typical 1970s car chase movie (Eat My Dust, A Small Town in Texas, Vanishing Point, etc.). You might think movies like that aren't worth watching, but they're better than 80% of the stuff they call movies today. This movie shows an airbag being deployed back before airbags became standard in cars. It's a public service movie! And you get to see the top ripped off a car back before Buford T. Justice got the top ripped off his car. And you get to see what happens when you don't put all your lug nuts on tight. People in the 1970s rural America liked these movies because they could relate to the setting and the plot and the cars.

A wildly uneven but watchable combination of violent melodrama and car-chase comedy, about an unassuming young couple who stumble onto a murder and end up on the run, framed by the redneck sheriff who actually committed the crime. This is a 1970's drive-in picture, made to order. The comedy and violence tend to clash and cancel each other out, but the performances are good and the action well-staged for such a low budget film. Worth a peek on a slow night, but nothing to stay up for.